ØRESUND SPACE COLLECTIVE

4 tracks here including "Cosmic Balls Fall" on reverberating guitars and analog keyboards; a sound that puts you in the mood immediately and that does not stop because yes that is the magic of CSOs is that when you are installed, the current flows without interruption. "Cosmic Balls Fall Pt 2" continues with a life-saving musical rest; on notes from the film 'Rencontres du 3e Type', on a DEEP PURPLE solo, on a spaghetti western; of course it is my personal memories that dictate my strike here, in truth the OSC sound gives each of you the unique opportunity to go into an intimate personal psychedelic universe. He pulls more tweaks out of Scott's Pandora's box, the guitars seem to settle down and find a cruising rhythm; the end is softer like a space moment where we have to re-berth the ship. Dr Space cites the musicians present at this evening in reverberation too. "The Barking Lady of Ostepol" occurs, TANGERINE DREAM of yesteryear scratches my ear, the ship is forced to maneuver to return to Aldebaran; that's it the air suddenly comes out, heavy, here we go again; one of the easiest tracks to listen to due to its heavy, hypnotic atmosphere; sudden South American final, but what did I eat last night? "Dripping Brains" is already there, electro forward, Dr Gadget for a while, short hilarious psyche in a good way; I remember again the evocative sound of DEEP PURPLE during their instrumental madness. Good live album or not, gimmick or mantra cannot be described, it is lived... so you had 3/4 hours of my life there in the end. Some will say ah it's often the same thing, but... is your life the same all the time?

ØRESUND SPACE COLLECTIVE makes a compendium of evolving psych rock where crescendos, adrenaline rushes and musical cold sweats are in order; an album that you have to hang on to from the start for fear of not finding the right car and staying on the ground; Dr Space with his Pandora's box vibrates the improvised riffs, the brilliant solos, he increases the bass lines, the sound effects by fiddling with his little magic buttons; he raises the tone, the sound to explode the notes, to transcend them into a divine maelstrom; the music collides, merges to create the ultimate musical melting pot, the one from which nothing emerges; you are bewitched, you wonder how it can still exist in our time; the dynamic remains clear, obvious, progressive until these organoleptic rises where twists, vibrations and sound swirls merge in a final libation. ØRESUND SPACE COLLECTIVE is all that!

By the way the band is named after the bridge that connects Denmark with Sweden since it was a collaboration between Sweden's BLAND BLADEN and MANTRIC MUSE with the wild card being American Dr. Space who has been the constant on this project that has had over 30 musicians come through it's doors and most from known bands. This recording has two members of GOSTA BERLINGS SAGA, one from SIENNA ROOT, one from MY BROTHER THE WIND and one from AGUSA for example. Dave Schmidt and the PAPIR guys and so many more have also played on past records.

This was recorded live in studio in Denmark over 3 days where the band is based. I almost feel like I should be talking about the tracks that are keeping me from giving this 4 stars over my top three. I'm not big on the shortest track "Juggle The Juice" that almost comes across as a novelty song with those high pitched electronics. "Digestive Raga" is actually pretty good but 30 minutes is too long. "Raga For Jerry G" dedicated to the GRATEFUL DEAD member and we get slide guitar dominating this 20 minute track. I have such a hard time with not connecting the slide guitar with country music. Even if there are some classic moments out there in Rock like "Layla" for example.

"Bon Voyage" is only 6 minutes long and it ends disc one in a positive way for me. Highlight of the whole recording is "The Man From Wales" a 13 1/2 minute track that grooves. Love the organ and guitar in this one. This and the opener "The Ride To Valhalla" are top threes and the opener is a 19 1/2 minute piece opening with spacey winds as we buckle up for the ride. Plenty of violin and electronics in this one. How about the closer of disc two the 45 minute "20 Steps Towards The Invisible Door" I mean it has it all.

My top three would be around 78 minutes of music and would get a very high rating from me. I just can't hit the 4 stars for this one though even though there's probably something here for everyone.

Each CD is performed by a different lineup. Only Dr.Space is present on all of them.

After few introductive words, the gig starts immediately with "Open The Skies", an instrumental with an early Pink Floyd vibe from the days of Zabrisky Point. A good trip is starting: hypnotic repetitive bass line with keys, drums and guitar enlarging the soundscape. Something changes in the second half of this 16 minutes track, but we are still in the land of Ummagumma with a little hint of Quantum Fantay in the bass line.

Some spacey electronic sounds introduce "Flyby Guitar Hero. The structure is not much different from the previous track, with the instruments jamming over the bass line, but this time there's some more psychedelia and Dr.Space makes an excellent job in the background with the electronics. Søren is a sort of a metronome on drums (like often Nick Mason was). Other 10 sophomore minutes on just two chords.

Has anyone seen Nick? I don't think it's about "that" Nick, even if the drummer is again a sort of metronome. Now we are more in the Quantum Fantay realm than in the early PF, for about 15 minutes, then "The Man Who Ate Planets" is a lesson about how to spend 20 minutes on a single chord.

"The Last Glide" closes the first set. The intro is electronic, then a guitar riff comes. Another psychedelic jam of about 13 minutes. The structure is still the same: repetitive bass line and all the others jamming. Pleasant, but we probably need some chemical help to appreciate it entirely.

So it's not a case that the second set is opened by "Jamming For Your Mind". A good 14 minutes bluesy jam ending with Mr. Space introducing the band members to the audience. Now let's travel to the "Stargate 7431" with uptime drums and a guitar jam. This second band incarnation is less Floydian and more oriented to the soundscapes of Ozric Tentacles. The track fades directly into "Circular Perimeter". There's more drumming, I would have preferred a different production, giving the rhythmic part more evidence. Good guitar work for the most rocking track up to now. There's no pause. "Chocolate Orange Candle" starts where the previous track ends. This part of the CD is like a single long suite. Respect to the first set there's more rock. Sometimes it reminds in the mood to Jimi Hendrix's Experience. It's a live recording, after all.

Few words from the stage. A quick band intro then back to music. "One More Space Out" starts almost funky. It's another 14 minutes jam, but the odd signature and the intensity of the sound send us back to the 60's. Very trippy.

It's now time for the third stage and the monster 34 minutes track "A Long Night Amongst Friends" whose title says much about it. Bass, percussion, electronic winds and it's back to Ummagumma. Just relax and let it flow. The presence of a percussion solo in the middle is remarkable.

After more than 3 hours, "Find A Way Out Of Here" is an appropriate title. It takes 23 minutes to find it inside a delirium, but if you have make it up to now, you can enjoy also this one. The bass plays a two major chords sequence (E/F). This semitone distance gives the possibility of jamming using minor scales on major chords. Not very original but it gives it a sort of oriental mood. Later it changes into what I think is totally improvised. The chord sequence is quite melodic but the lead guitar is often dissonant.

"Let It Groove" is the third and last track of the third and last set. It's the most various and interesting track. A good closer, good to wake the audience up and give them the possibility of find their ways home.

Now let me give it its deserved 3 stars and go to grab a coffee.

Concerning the music itself, the rythm section acts like a power station, pumping in all the fuel required to sustain a high level of improvisation, both at level of the intensity and the imagination put into play. The musicians never seem afraid of clashing with each other, and, although that never really happens, sometimes the room seems a bit overcrowded with so many people launching a solo at the same time. There are many moments of good melody and charming spacey atmosphere, interspersed with other not so fortunate.

If you have a heart for jamming bands, this might be for you.

Opener `Improv to the Other Side' is the band at their most unhurried and joyous, a floating drift of slow-burn guitar dreaminess and flighty synth trills, reminding instantly of their previous `Out Into Space' live release from 2015 that saw the band at their most chilled, and it takes flight for an up-tempo sprint in the second half. The dusty violin that weaves in and out of `Sneaky Snake Jam' sounds like Embryo's `Steig Aus' making sweet love to the Ozric Tentacles, with permeating eastern moods infiltrating the lightest of near-reggae touches and swirling synth wisps between biting guitar wails and strident percussion stomps.

The instantly up-tempo groover `Henk's Jam-o-Rama' that kicks off the second disc straightaway picks up in fire with a flurry of relentless drumming urging the piece constantly forwards, a snarling chugging guitar grind rising over spiralling synth effects that captures a Hawkwind-like grunt (and dig Dr Space's manic electric piano run in the middle!) before a smouldering wail to simmer down on in the climax.

The tough `Freaks of Berlin' is overloaded with slithering, dirty and bluesy twin guitar and bass grooves, but best of all is the closer `Another Jam for Sabine'. This cracking jam begins as a laid-back eastern-flavoured meandering raga, all wisps of Theremin flitting about relentless percussion patterings, rising/falling synth winds and ragged violin cuts, eventually melting into a manic, thrashing and punishing surge of mantra-like guitar strangulations before the most mellow of come-downs.

You can't go wrong with any of the ØSC releases, but `Live in Berlin 2018' particularly boasts a perfect balance of alternating tranquil and frenetic moods, frazzled heavy grooves and endlessly out-of-control drumming behind infectious synth-noodling! If unpredictable and vibrant psych/space jams are your thing, no one do them better than this crew.

Four stars...and don't delay in picking up one of the 500 CD copies - not many left!

I should say that that the current entry of "Chatoyant Breath" is not exactly correct. It would be more right to present here the full album version which consists of 5 tracks clocking in at approximately 136 minute. And this full-version is available only as 2xCD edition:

CD 1 - 1. Peaceful Patterns (28:37) 2. Chatoyant Breath (36:08) CD 2 - 3. Angular Ambrosia (28:02) 4. Turbulent Trepidation (23:21) 5. Celestial Sensation (19:23)

Why it's important? First, because vinyl/digital versions do not include "Celeatial Sensation" - while it's one of the two tracks featuring all three guitarists in the ØSC line-up: Gary Arce (of Yawning Man, Ten East, Zun, etc.), Nicklas Sørensen (of Papir), and Nicholas Hill (of The Univerzals). Second, because the original flow of the album is broken in the vinyl/digital versions - consider that some tracks on the album are bridged, like "Peaceful Patterns" and "Chatoyant Breath" on CD1. Just have this in mind when choosing to purchase your version of "Chatoyant Breath".

Anyway, this album in some way differs from ØSC recent recordings as there are no any aesthetic or stylistic ideas-visions behind it. This is free-loose-end impro-instrumental Jam-Rock in its purest and natural form though tinged with multiple synth-space effects. The soloing, improvising, and dueling guitarists as well as the grooving rhythm section featuring bassist Jiri Jon Hjort (of The Univerzals, Fri Galaxe) and drummer Martin Bjerregaard (of Psyched Out Janis, Fri Galaxe, The Univerzals, Gas Giant, etc) are at ground zero throughout the music context. It doesn't mean that the role of synth-gurus Dr. Space and Mogens Pedersen (of The Univerzals) is not important though - without the cosmos of swirling-n-bubbling effects generated by these two, the music would probably be similar to primordial Desert-Stoner/Acid-Rock jam from early 90's.

But what we have here is excellently crafted Psychedelic-Space-Rock instrumental improvisations in a wide range of moods and emotions - from more spaced out , relaxed, and exploratory jams (on CD1) towards more weaving, riffing, tickling and scratching your mind action tracks (on CD2). Summing up, everyone who enjoys improvised instrumental Psyche-Rock beyond compositional forms will find quite a lot catching and mind-bending things on "Chatoyant Breath". Not to be missed!

Mysterious sitar strains ring through `Reflections in the Mind's Eye's fizzing synth winds and placid ambient washes that gradually grow in urgency, a plodding beat taking a head-nodding trance-like hold and rattling with menace, as droning distortion and strangled guitar shards coil together into a fuzzy storm. `ESP (Extreme Spatial Perspective)' surges with bouncing electronic programming racing alongside relentless pounding drums, fizzing synth spirals and wailing electric guitar embers that twist into ethereal reaches before rumbling mud-thick bass reverberates into a heavy grooving stoner sludge in the climax - phew!

Covering sides three and four of the LP, `The Oracle's creaking electronic drones lap at drowsy sitar mediations and dusty wind- swept violin reaches that flit between frantic and airy around enveloping rising/falling synth pools. Lethargic and splintering electric guitar tendrils ring and chime with the same ethereal reaches as the early Pink Floyd improvs, groaning into the heavens over washes of electronic distortion and exotic percussion. It soon turns into a strident slow-burn guitar jam that comes roaring to life over hypnotic synth caresses before a mellow violin come-down to close on.

`Hallucinations Inside the Oracle' makes for a fine fusion of East meets West psychedelic/space music, one that compliments in parts the (two to date) ØSC-related Eastern-flavoured `West Space and Love' LP's beautifully, and both `...Oracle' and the above- mentioned `Dr Space's Alien Planet Trip' deserve to be placed alongside the finest albums of the year for space-music fans.

Four stars.

The near-forty two minute title-track barely slows down for even a second, remaining high-energy and unrelenting almost the entire time! It holds plenty of fuzzy distortion, thick murmuring bass ruminations, sparkling electric piano and fizzing synth trills, with much attention placed on the slow burn but dominating electric guitar and fiery drumming, although sprightly violin and pedal-steel guitar also weave dreamily throughout the second half. `Visions Of...' lightly echoes the classic late Sixties/early Seventies live Pink Floyd performances in several spots, and along with some brief scratchy reggae-flecked moments, it makes for a great example of the sort of music the ØSC musicians frequently deliver so well.

The liner notes of the album mention Miles Davis' `On the Corner' as an inspiration, and sure enough `Above the Corner' is a Seventies flavoured infectious groover of sly funky guitars, slithering liquid bass and shimmering organ! Ambient rising/falling synths wash over droning eastern-flavoured guitar effects and hypnotic African drums slowly build in stature and danger in `Piece of Seven', and `Around the Corner' returns to gurgling funky bass and electric piano trickles over lovely floating synth wisps, with the piece really cooking as it picks up in tempo and races towards the finish with an endless blazing guitar solo, chunky grumbling bass and fierce drumming.

On this, their twenty-third release to date, the Øresund Space Collective continue their superb run of recent works, and this one has everything you could want from the band - sh*t-hot playing, cool grooves and plenty of deep-space environments, and it also reveals those surprising little flavours that make each ØSC release stand apart from the last. The `band' won't be performing as much in 2017, so it makes these releases even more vital and special, a must for lovers of jammy space-music and improvised psych-rock.

Four stars.

(and don't forget to look into `Dr Space's Alien Planet Trip - vol 1' LP, a feverish distortion heavy electronic mind-melt that sounds like the soundtrack to Edgar Froese's most vivid nightmares!)

My only quibble is the artwork, which shows a spaceship seemingly emerging from a black hole - I think the music takes us in the opposite direction.

Verdict: Recommended to fans of early Tangerine Dream or late Electric Orange - or even Tony Conrad.